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No. 34362
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Here are some interesting snippets.
>One thing for sure is that quality deterioration, which was seen in 2016, was not found in 2018 despite the significant increase [in minutes of TV animations]. There was no case that all the production was left to overseas subcontracts while a certain level of quality was maintained (although there were some cases in which broadcasting was postponed). It seems the only way to judge whether there is further space for growth of the production minutes or not is to watch the trend from 2018 closely.
> But there is a risk that China will detach itself from Japanese animation. Chinese creators, including the director of Ne Zha, were born in the 80s and were deeply influenced by Japanese manga, anime, and games. Now it seems those creators have already mastered their own expression methods and fully absorbed Japanese cultures. It is questioned whether China, with such talented creators, still needs to collaborate with Japan. We will keep an eye on the trends from now on.
>There was a further increase of new works and a decrease of continuous works – It can be said TV animations are on a declining trend since continuous kids/family animations during the daytime decreased despite the increase of one-shot adult animation series broadcast in. late-night slots. The number of original animations produced only for VOD services such as Netflix are not included in this survey. The trend would be more prominent if such original animations, in which a large part are targeted toward young adults, are included in TV animations.
>Animation distribution via the Internet: The Internet distribution market size which recorded 59.5 billion yen in 2018 (110.2% over the previous year) overtook the Videogram market (58.7 billion) [note: Videograms are basically phyiscal distribution media, e.g. Bluray/DVD. I had not previously come across this term before] for the first time in the last 16 years since the survey on Internet Distribution started. However, the market expected as a replacement for Videogram seems to lack momentum after the diffusion of smartphones slowed down.
> On the whole, hardcore anime fans are reducing their spending on Videogram due to the availability of other alternatives
>... the market shifted from real products to digital products. The animation-related smartphone game market is stimated to be 400 billion yen or more.
Apparently the animation industry isn't immune to the 5G hype:
>With the countdown to the dissemination of 5G phones, Internet distribution industries are expanding their businesses while Disney and Warner launched global services, entering the VOD services now almost fully occupied by Netflix. Such circumstances would raise expectations for growing demands toward Japanese animations.
U.S., Canada, and China (in that order) license the most works. The rapid growth in past years was supported by bulk-buying by Chinese consumers; however, they became reluctant with concern over the impact of the regulations against media content that the Chinese government announced in 2018 would also apply to Internet contents. The loss in the Chinese market was covered by the stable growth of VOD, growing demands for Japanese animations in North America with expectation for 5G [again with the 5G hype?], and expanding overseas sales of smartphone games related to animations. As a result, the size of the overseas market increased slightly.
>>34361
>Could also be from stuff like Dragon Ball Z. I really am curious to see where the huge 'profit' comes from, and where it's going to.
While they don't have those precise figures, they do include "Top 10 animation works in overseas music royalties" which might be a good enough proxy. Indeed, the top 5 are DBZ, Pokemon, and UFO Robo, Tears, Naruto. But I think this is cumulative over time since it also includes Sailor Moon and Pac-Man BGM.
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